Paul O'Dette - Bacheler: The Bacheler's Delight (2006)
BAND/ARTIST: Paul O'Dette
- Title: Bacheler: The Bacheler's Delight
- Year Of Release: 2006
- Label: harmonia mundi
- Genre: Classical Lute
- Quality: flac lossless (tracks)
- Total Time: 01:18:28
- Total Size: 303 mb
- WebSite: Album Preview
Tracklist
01. Daniells Jigge
02. Pavan
03. Galliard
04. Galliard
05. Mounsieurs Almanie
06. Pavan
07. Galliard
08. En me revenant
09. A Pavin
10. Galliard
11. Fin de galliarde
12. Prelude
13. Fantasie
14. A Gallyard
15. Le jeune filette
16. Pavan
17. Galliard
18. Pavan
19. A Galliard
20. Almaine
21. Courante
22. Volta
23. Courante
24. Prelude
25. Pavan
26. Galliard
Lutenist and composer Daniel Bacheler was a contemporary of John Dowland's. The two admired each other; Bacheler wrote A Galliard upon a Galliard by John Dowland, and Dowland did the same with one of Bacheler's works. Only the Bacheler works of each pair are included on this disc of solo lute pieces; it might have illustrated the stylistic contrasts discussed by lutenist Paul O'Dette in his notes if the listener had been able to compare each artist's recomposition of his friend and rival's work. That, however, is just about the end of the list of complaints relating to this wonderful release. Although a few works here were staples of Julian Bream's repertory, Bacheler has been somewhat neglected in comparison with other English composers from around 1600; this is said to be the first release devoted entirely to his works. O'Dette argues that this is because of the difficulty his works pose for performers: Bacheler was a true virtuoso. His Pavans begin with the stately mood one associates with this dance, but quickly explode, variation-like, into flashing runs and textural complexities. O'Dette rightly points out that it's hard to find a tempo that will accommodate both the simple and the complicated passages; the performer has to subtly alter the tempo over the course of a piece. He solves this problem admirably, and his execution of Bacheler's vigorous passagework is perfectly clean. Another characteristic technical problem Bacheler poses relates to his exploitation of the lower end of the lute's range, and here O'Dette's clear articulation and vivid coloring of the lower strings has never been put to better use. Sample one of the variation pieces such as Monsieurs Almaine (track 5) or La jeune fillette (track 15) for an example of Bacheler at his most characteristic, but the high level of virtuosity and control come through almost everywhere on the disc. Several unusual genres, such as the "Fin de galliard," a sort of ground-bass coda, are represented. Special mention goes to engineer Brad Michael, working in a concert hall in Quebec City: he accomplished a close-up recording that gives a really uncanny sense of the performer's presence. This is an unsuspected delight for married folk as well as bachelors and bachelorettes.
01. Daniells Jigge
02. Pavan
03. Galliard
04. Galliard
05. Mounsieurs Almanie
06. Pavan
07. Galliard
08. En me revenant
09. A Pavin
10. Galliard
11. Fin de galliarde
12. Prelude
13. Fantasie
14. A Gallyard
15. Le jeune filette
16. Pavan
17. Galliard
18. Pavan
19. A Galliard
20. Almaine
21. Courante
22. Volta
23. Courante
24. Prelude
25. Pavan
26. Galliard
Lutenist and composer Daniel Bacheler was a contemporary of John Dowland's. The two admired each other; Bacheler wrote A Galliard upon a Galliard by John Dowland, and Dowland did the same with one of Bacheler's works. Only the Bacheler works of each pair are included on this disc of solo lute pieces; it might have illustrated the stylistic contrasts discussed by lutenist Paul O'Dette in his notes if the listener had been able to compare each artist's recomposition of his friend and rival's work. That, however, is just about the end of the list of complaints relating to this wonderful release. Although a few works here were staples of Julian Bream's repertory, Bacheler has been somewhat neglected in comparison with other English composers from around 1600; this is said to be the first release devoted entirely to his works. O'Dette argues that this is because of the difficulty his works pose for performers: Bacheler was a true virtuoso. His Pavans begin with the stately mood one associates with this dance, but quickly explode, variation-like, into flashing runs and textural complexities. O'Dette rightly points out that it's hard to find a tempo that will accommodate both the simple and the complicated passages; the performer has to subtly alter the tempo over the course of a piece. He solves this problem admirably, and his execution of Bacheler's vigorous passagework is perfectly clean. Another characteristic technical problem Bacheler poses relates to his exploitation of the lower end of the lute's range, and here O'Dette's clear articulation and vivid coloring of the lower strings has never been put to better use. Sample one of the variation pieces such as Monsieurs Almaine (track 5) or La jeune fillette (track 15) for an example of Bacheler at his most characteristic, but the high level of virtuosity and control come through almost everywhere on the disc. Several unusual genres, such as the "Fin de galliard," a sort of ground-bass coda, are represented. Special mention goes to engineer Brad Michael, working in a concert hall in Quebec City: he accomplished a close-up recording that gives a really uncanny sense of the performer's presence. This is an unsuspected delight for married folk as well as bachelors and bachelorettes.
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